Tag Archives: Urinetown

It’s no secret that Mark Hollmann and Greg Kotis’s Urinetown is my favourite musical of all time. Set in a near future, where water is so scarce even going to the toilet is regulated and controlled – and costly, with the laws enforced by a police force very much in the pay of the corporation. The poor, of course, get the worst of it, scrabbling for coins and queuing for hours for the ‘privilege to pee’. Transgressors are swiftly despatched to Urinetown, from whose bourn no traveller returns. Whenever there’s a production in the offing, I meet the news with a mixture of excitement and dread – excitement to get the chance to see it again, and dread in case the producing company make a hash of it. In the case of the Crescent Theatre, I am able to cast aside the dread entirely as soon as it begins.

Brendan Stanley is our narrator, the show’s heavy, Officer Lockstock. His exchanges with Little Sally (Charlotte Upton) provide most of the show’s Brechtian, fourth-wall-breaking moments, for this is a musical about musicals as much as it is a musical about Urinetown. Kotis’s witty book for the show constantly reminds us, in case we’re in any danger of forgetting, that we’re watching artifice at work. This provides a lot of laughs but the show also has something important to say – but I’ll come to that.

Stanley and Upton are excellent and are soon joined by the chorus of downtrodden, bladder-distressed townsfolk, drab in their boiler suits and headscarves. Accompanied by a tight band, under the musical direction of Gary Spruce, the chorus numbers are sung beautifully – I’ve never heard them better. And I start to get chills…

Leading the cast and leading the rebellion is Nicholas Brady as Bobby Strong. Brady sings powerfully and expressively in a West End worthy performance; as his love interest and daughter of the bad guy, Hope Cladwell, Laura Poyner is sheer perfection, with a robust soprano voice and flawless comic timing in her Judy Garland-like characterisation. Hope and Bobby’s duet gives me shivers. Helen Parsons is outstanding as Penelope Pennywise, wide-eyed manager of the local toilets, and Mark Horne is suitably, casually callous as the villainous capitalist (is there another kind?) Caldwell B Cladwell. There is strong support from absolutely everyone else, including Paul Forrest’s Officer Barrel and Wanda Raven as Bobby’s mother.

Director Alan K Marshall does brilliantly with his large company within the close confines of the Ron Barber Studio, cramming the show with quick-fire ideas, for example a makeshift pieta, complete with halo, and having the chorus sport nightmarish sacks on their heads to signify their move to the mythical Urinetown. Tiffany Cawthorne’s choreography accentuates the quirkiness of Hollmann’s musically rich and diverse score, and it’s all played out on Keith Harris’s dark and dingy, graffiti-strewn set, subtly (or perhaps not so subtly!) splashed with yellow spots! James Booth’s lighting design is a thing of beauty in itself. The production values of this show are of the highest order.

And what does the show have to say to us, apart from giving us fantastic entertainment? Our way of life is unsustainable – we’ve heard this before and we know it but it’s worth hearing again. The show also points out the folly and madness of handing over vital public services to money-grabbing corporations (you know, like what the Tories are doing with our NHS). It all rings ever-so-relevant. How many times do the rail and power companies hike up their prices, with the promised improvements in services never materialising? Every bloody time, that’s how many.

An outstanding piece of theatre – the Crescent has set the bar exceedingly high for whatever musical they tackle next time.

Making a splash: Laura Poyner and Nicholas Brady with the cast of Urinetown (Photo: Graeme Braidwood)

The world is in the toilet. Corporations profit from basic human functions and the law is on their side. The premise for this 2001 musical by Mark Hollman and Greg Kotis is at once ridiculous and pertinent – never more so than in this crazy day and age. Politicians in the pockets of unscrupulous corporations – surely not!

In this piss-topia arises a hero and rabble-rouser Bobby Strong who encourages the poor to pee for free, inspired by his love for the naive daughter of the boss of the evil corporation. Events unfold in a surprising way: our way of life is unsustainable, the show reminds us, and perhaps a socialist revolution is not an easy fix.

It’s a brilliant, hilarious show – one of my all-time favourites – and the funniest serious musical you could ever hope to enjoy.

As Bobby Strong, Brad Walwyn is in superb voice. In fact they all are, as soloists and in the hair-raising chorus numbers. The Old Joint Stock Musical Theatre Company is a wealth of talent crammed into a tiny studio – the intimacy of the venue adds to the energy and immediacy of the show. There is no attempt at maintaining a fourth wall here, no point when the show, with its Brechtian devices, celebrates the artifice and theatricality of the enterprise. Chief of these frame-breakers, is Officer Lockstock, our narrator, played to the hilt by the charismatic Richard Haines who delivers a kind of easy menace and a knowing humour. Karl Steele is excellent as villain of the piece, Caldwell B Cladwell while daughter Hope (Mairead Mallon) is a wide-eyed, eyelid-batting delight. Lizzie Robins hits the high notes as Miss Pennywise, and Laura Peters is a hoot as the ever-questioning innocent, Little Sally. But really, ever chorus member deserves the highest praise. Kudos, too, to the unseen live band that delivers the rich and complex score.

The choreography, by Sarah Haines, is infectious – you feel like getting up and joining in. Director Adam Carver (who also appears as slimy Senator Fipp) keeps things in-your-face and adorns the action with hilarious comic business. There is a lot going on in this tiny space, and the audience is caught in the middle of it – which suits the show’s message absolutely. Not that this is a preachy production. It’s an engaging, exhilarating entertainment that tickles the mind as much as the funnybone. And this version at the Old Joint Stock is practically flawless. A contender for my Show Of The Year, this is everything theatre should be.

At long last, Urinetown comes to the UK and, let me tell you, it is well worth the wait. I could write the shortest review ever and just say: PERFECTION. Or I could go on and on and write a book about how great this show truly is. I’ll try to land somewhere between the two.

It is set in a dystopian future where a water shortage means bodily functions are strictly regulated. Everyone has to pay to use public toilets – going elsewhere is strictly prohibited. Offenders are caught and exiled to the mysterious Urinetown of the title. Of course, there’s a greedy corporation manipulating and exploiting the situation with politicians and law enforcers in its pay. Not unlike coalition Britain, ha ha – but the satire of the show is sharper than mine.

When he meets and falls for the corporation boss’s daughter, Bobby Strong embarks on a revolutionary path to restore dignity and socialism to the world. But the show is about more than a clash of political ideas. It’s also about musicals, while being a demonstration in how to write and perform a musical. There’s a lot of frame-breaking fun going on, poking fun at its own form. Director Jamie Lloyd capitalises on every such moment but the production never becomes too ‘knowing’ or ‘nudge-wink’. It’s all carried off with camp charm.

Officer Lockstock is our narrator. Together with Little Sally, who speaks for the audience, he guides us through the show, like a man trapped in the fourth wall. RSC stalwart Jonathan Slinger is the bully-boy cop and I don’t think he’s ever been better. Karis Jack’s Little Sally draws our attention to the absurdity and distastefulness of the subject matter, while conveying the character’s blinking innocence.

As Bobby Strong, Richard Fleeshman is certainly swoonworthy, giving us the hero’s blind determination and idealism. He has a great voice too. Rosanna Hyland is love interest Hope, fresh-faced and sweet-voiced, she plays the humour of the part to perfection. Her father, the evil Caldwell B Cladwell is played with relish by Simon Paisley Day. Marc Elliott is delightfully twitchy and smarmy as Mr McQueen and Adam Pearce is splendid as Lockstock’s partner-in-crime-fighting, Officer Barrel. Although if Lockstock put his baton to my head to make me pick a favourite, I’d have to opt for Jenna Russell’s hilarious and cartoonish Penelope Pennywise.

It’s an outstanding cast. An ensemble of energetic minor characters mean there is always plenty going on; some hysterical bits of business make the show consistently funny. There is also some darkness along the way. Transgressors are beaten up and bloodied. We are reminded that there is a serious message to all of this, and it’s not just that capitalism is wrong and that socialism won’t work. The show reminds us that our way of life is unsustainable. Without proper management of the world’s resources, we won’t have a world on which to debate ideals, or indeed a pot to piss in.

On the surface it all seems like silliness but Greg Kotis and Mark Hollmann’s show is a remarkable piece of work. You can see why it won tons of awards on and off Broadway. The production values of this current incarnation should see some awards winging their way to the St James Theatre or there’s no justice. Soutra Gilmour’s production design gives us a dank and grimy world of brick walls and tiles, like Victorian toilets and sewers. Ann Yee’s choreography is quirky and funny, as the score sends up a range of musical styles. The attention to detail is, like much of the production, breathtaking.

Urinetown is a truly refreshing addition to London’s musical theatre. Like a long, cool glass of water, it makes you want to go again.